Archive for the ‘entertainment’ Category

Review of the revival of The Who’s Tommy at Chicago’s Goodman Theatre

Posted: July 19, 2023 by John Ruberry in culture, entertainment, media
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By John Ruberry

Three days ago, the Marathon Pundit family saw the revival of The Who’s Tommy at Chicago’s Goodman Theatre. 

The original The Who’s Tommy was directed by Des McAnuff, who collaborated with Pete Townshend for the musical. Townshend, the Who’s lead guitarist wrote most of the songs for the Tommy rock opera. The original theatrical production was first performed in 1993, and that was directed, as is the Goodman Theatre production, by McAnuff. 

While not the first rock opera, most rock scholars give that honor to Pretty Things’ S.F. Sorrow, Tommy was a commercial and critical success for the Who; they had struggled to gain attention in America, as did some of the other bands who emerged at the tail end of the British Invasion, such as Small Faces and the Move. 

The plot of Tommy, the rock opera, is quite clunky. The atmosphere of Tommy is of the late 1960s, and it is a reaction to the guru culture of that strange time, which was filled with charlatans such as Timothy Leary, the Maharishi Mahesh Yogi, and much more darkly, Charles Manson. A better guru was Meher Baba–Pete Townshend remains a follower of his teachings. 

However, inexplicably, Townshend set the story of Tommy to begin shortly after the end of World War I. 

Tommy Walker becomes deaf and blind at around age four after he witnesses his father, who his mother believed was killed in the Great War, shooting her lover to death. Tommy’s parents look for a cure for their son, those attempts include bringing him to a “gypsy,” the Acid Queen, who fails to cure Tommy with LSD. Two relatives abuse him, Uncle Ernie, sexually, and Cousin Kevin, who tortures him. Tommy, despite his deafness and blindness, becomes a pinball champion and a celebrity. Tommy’s mother notices that her son often stares intently at mirrors. She smashes a mirror during one such gaze, which cures Tommy. He then becomes a cult leader, but eventually his followers reject him. Finally, Tommy realizes that he isn’t special, but everyone else is, as he sings in “We’re Not Gonna Take It.”

Listening to you I get the music
Gazing at you, I get the heat
Following you I climb the mountains
I get excitement at your feet.

But it was the songs, despite some dull filler such as “Underature,” that made the Tommy rock opera a smash. And the Goodman Theatre makes the most of the best-known numbers–along with some stupendous dancing–including “I’m Free” and of course “Pinball Wizard,” but also lesser-known tunes, such as “Amazing Journey” and “Sensation.” With a church backdrop, “Christmas” shines.

For those Who purists out there, beware, some of the lyrics of the songs have been altered to fit the adapted narrative of the musical.

There are many stand-out performances, foremost by Ali Louis Bourzgui as an adult Tommy, Alison Luff as Mrs. Walker, and Adam Jacobs as Captain Walker. The supporting cast is also superb, particularly Christina Sajous as the Acid Queen and Bobby Conte as Cousin Kevin. There are no casting mistakes here, unlike Ken Russell’s over-the-top Tommy film from 1975, which, like The Who’s Tommy, begins the story right after World War II. While Russell got it right with Who lead singer Roger Daltrey as Tommy, Tina Turner as the Acid Queen, Elton John as the Pinball Wizard, and Ann-Margaret as Mrs. Walker, there were some serious casting disasters in that move, including Eric Clapton (not an actor), Jack Nicholson (not a singer), and Oliver Reed, a drunk who played a drunk, but on the flipside, Reed couldn’t sing either.

Back to The Who’s Tommy at the Goodman: Not to be overlooked, the lighting, the costumes, the sparse but effective scenery, and the computer graphics are dazzling.

The play ends in an undefined, presumably fascist, future, with Cousin Kevin looking a bit like Joseph Goebbels. And with an attack, somewhat understated, on today’s celebrity and social media influencer culture. 

Last week, Bourzgui explained to the New York Times his interpretation of his Tommy portrayal, “He gets filled up by his followers,” adding “He keeps feeding off that, getting more gluttonous with power, until he realizes they’re following him because they want to feed off his trauma.”

The key word, in the 21st century context, is “followers.”

On the downside, a couple of songs, both penned by Who bassist John Entwistle and performed in succession, fall flat, “Cousin Kevin” and “Fiddle About.” In the latter, Uncle Ernie [John Ambrosino], sings about, well, I said what it is earlier. Both tunes are perfect times for a bathroom break, assuming you will be let back in before the end of first act. Mrs. Marathon Pundit dozed off during these tunes.

Townshend, since the release of the Tommy LP, said he was molested as a child. He was not charged after logging in a few times to a for-pay website that was advertising child pornography, stating at the time his motive to visit the site was “purely to see what was there” and that he was researching sexual abuse. In 2003, Townshend was placed on a sexual offenders registry for five years and he received a caution from the London Police. Townshend strongly denies every possessing child pornography. Citing those two sadistic Entwistle songs, Townshend said that he is too traumatized to ever perform Tommy again.

None of the other reviews of The Who’s Tommy I’ve read mentioned Townshend’s legal issues, but on the other hand, I paid for our tickets to this show.

Although not seen, the nine-piece band, led by Rick Fox, has some big shoes to fill by performing these songs–particularly those of Who drummer Keith Moon–is spectacular. I saw The Who in concert twice, in 1979 and 1980, with Kenney Jones on drums, Moon passed away in 1978. Entwistle died in 2002. Both of concerts were fantastic–and loud. My ears were ringing for days afterwards both times. 

Yes, it was a Sunday matinee performance, but it was a geriatric audience, reminiscent of the crowd on the Lawrence Welk Show, in attendance for the Goodman of The Who’s Tommy that day. Earplugs were available for the “loud” music at the Goodman–which wasn’t that loud. Oh, have times ever changed. 

The Who’s Tommy has been extended twice at the Goodman, some upcoming shows are sold out, the final Chicago performance is scheduled to be on August 6. The production is believed to be a dry-run for a return to Broadway, and presumably, a whole bunch of well-deserved Tony Award nominations.

John Ruberry regularly blogs at Marathon Pundit.

Jim Caviezel as August Landmesser Delivers The Quote of the Year

Posted: July 12, 2023 by datechguy in culture, entertainment
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Two days ago in one of my “Under the Fedora” posts I wrote this about the movie The Sound of Freedom

The Outsized reaction of the professional left to the performance of the movie the “Sound of Freedom” last week and Disney’s decision to sit on it for a week seems rather odd, particularly when you note how consistent and united this reaction is.

Why you would think the left and their allies had a big hand in that pie. And if they didn’t before they might now.

Of course that’s nonsense, just because the elite left knew about Jeffrey Epstein and tolerated him for decades and knew about Harvey Weinstein and tolerated him for decades and knew about Matt Lauer and tolerated him for decades and woke Disney sat on this film for half a decade doesn’t mean that they have a hand in child sex slavery. Besides if that was the case people would have been afraid to work on the film and it’s star Jim Caviezel would have folks running away from him in Hollywood over it:

Oh wait:

I want this to be so huge that they’re forced to look at this. I lost my agents over this. Yep, 17 years, 15 years. I lost my lawyer over this, and now I understand why all these actors didn’t want to do the movie because of this. Listen, you do Schindler’s List fifty years later, you’re a hero. Try doing Schindler’s List when the real Nazis are right there. Understand how that becomes more dangerous? I don’t understand why people are willing to let children be hurt, but in this time, Hollywood says, ‘No, no, let’s kick that down fifty years from now and then [see where we’re at]. That’s crap.

Jim Caviezel in an interview with Angel Studio’s head Neil Harmon

Hollywood in Toto notes a slight difference in the penalty for making this movie for Caviezel and other Hollywood starts in ….interesting situations:

Alec Baldwin accidentally shot and killed a crew member on a movie set and his career never missed a beat. Production on the film in question, “Rust,” resumed earlier this year.

Ezra Miller’s rap sheet is a mile long, but the nonbinary actor anchors one of the summer’s biggest adventures, “The Flash.” And, had the movie performed well at the box office, Miller would have played the speedster in the sequel.

Jim Caviezel agreed to star in a fact-based story about child sex trafficking, exposing an ongoing crime many people don’t know about.

Perhaps the day will come when the Hollywood left will be suddenly decide that like Lauer, Weinstein and Epstein those involved in this kind of thing (the child trafficking not the movie) are to be shunned while stars and elites proclaim their public shock that it was ever going on, but until that critical mass is reached Caviezel will remain Hollywood’s August Landmesser standing separate from the crowd.

#UnexpectedlyTM of course. (hat tip insty)

Closing thought:

Caviezel’s quote instantly reminded me of the Three Stooges who were my favorite as a kid. It’s worth noting that their hilarious short “You Nazty Spy” came out in 1940 when the Reich was poised to swallow up most of Europe and it would have been very easy for Nazi agents to target three comics staring in shorts for revenge by Nazi agents.

Disney’s Fahrenheit 2023

Posted: June 11, 2023 by John Ruberry in business, entertainment, media, News/opinion, opinion/news, politics
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By John Ruberry

Ray Bradbury in a way predicted Disney’s latest outrageous move.

Bradbury’s Fahrenheit 451, published in 1953, is a dystopian novel that is overshadowed by two other great 20th century works about an unpleasant future, Brave New World and 1984. Fahrenheit 451’s lead character is Guy Montag, a fireman, only in Bradbury’s world, buildings are fireproof; Montag and other firemen are dispatched to homes to burn books. Nearly of them. Only comic books are permitted in that unhappy future. 

Michiko Kakutani, in a New York Times career appraisal written on the day after Bradbury’s death in 2012, remarked that Fahrenheit 451 “is at once a parable about McCarthyism and Stalinism, and a kind of fable about the perils of political correctness and the dangers of television and other technology.” Yep, Kakutani said “political correctness,” the term for “woke” from that not-too-distant time.  In a 1994 interview Bradbury, in very blunt language even for the 1990s, attacked that PC culture while discussing Fahrenheit 451. “Political correctness is the real enemy these days,” he said. “The black groups want to control our thinking and you can’t say certain things. The homosexual groups don’t want you to criticize them. It’s thought control and freedom of speech control.”

In a memorable passage from Fahrenheit 451, Montag’s boss explained–without government involvement mind you–how books became toxic. 

The bigger your market, Montag, the less you handle controversy, remember that! All the minor minor minorities with their navels to be kept clean. Authors, full of evil thoughts, lock up your typewriters. They did. Magazines became a nice blend of vanilla tapioca. Books, so the damned snobbish critics said, were dishwater. No wonder books stopped selling, the critics said. But the public, knowing what it wanted, spinning happily, let the comic books survive. And the three-dimensional sex-magazines, of course. There you have it, Montag. It didn’t come from the Government down. There was no dictum, no declaration, no censorship, to start with, no! Technology, mass exploitation, and minority pressure carried the trick, thank God. Today, thanks to them, you can stay happy all the time, you are allowed to read comics, the good old confessions, or trade journals. 

Last week, Hollwood Elsewhere noticed the omission of the “N-word” from the Gene Hackman classic police thriller The French Connection from the Criterion Channel streaming service. The use of the racial slur helps define Hackman’s character, Popeye Doyle, as a great cop but a flawed man. 

Not as controversially, Doyle regularly refers to two French criminals as “Frog 1” and “Frog 2.” Those ethnic putdowns remain in the film. So does the iconic scene of Hackman gunning down Frog 2 on a set of stairs. For now, at least. 

It’s widely believed that Disney, which owns the rights to The French Connection, is behind the stealth editing. To use Bradbury’s words, “It didn’t come from the Government down.”

Disney of course has gone full-blown woke in recent years, the outrage prior to this one, from last month, involved a mustachioed man wearing a dress and eye shadow, a fairy godmother’s apprentice named Nick, greeting guests, including children, at the Bibbidi Bobbidi Boutique at Disneyland. Before that, Disney’s prior woke atrocity there was an anti-white people song performed in the Disney+ children’s series, The Proud Family.

Disney’s theme parks are supposed to be “the happiest place on earth.” That’s it? Humans are only about happiness?

Back to Bradbury and Fahrenheit 451:

You must understand that our civilization is so vast that we can’t have our minorities upset and stirred. Ask yourself, what do we want in this country, above all? People want to be happy, isn’t that right?

We won’t be happy, I believe, as dumbed down dolts.

The entertainment industry, a fortress of the left, constantly reminds us, especially during award ceremonies, that they are the vanguard for free expression. Sure, a censoring of the “N” word doesn’t seem like a noble hill to die on but remember the dystopian world of Bradbury’s Fahrenheit 451. The slippery slope began in order to placate a few people who were offended.

Why stop with the “N” word? What about the French Connection’s Frog 1 and Frog 2? Smoking in movies? And what Donald Trump’s cameo in Home Alone 2?

Viewers might get triggered.

Don’t laugh about that Trump scene. The star of Home Alone 2, Macaulay Culkin. wants the Trump bit cut. And he’s not alone.

John Ruberry regularly blogs at Marathon Pundit.

Review, Black Knight on Netflix

Posted: May 21, 2023 by John Ruberry in culture, entertainment, media
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By John Ruberry

A little over a week ago Black Knight, a six-episode dystopian series set in Korea, began streaming on Netflix. 

It’s 2071, decades earlier a comet struck Earth. The Korean peninsula is now a dunes-covered desert, only one percent of the population survived the disaster. Earth’s atmosphere is poisonous. Most of landmass of Earth is underwater,

The government is a corporatist dictatorship. The corporation is the Cheonmyeong Group, led by Chairman Ryu (Nam Kyung-eub), but run by his evil son, Ryu Seok (Song Seung-heon). The Republic of Korea–presumably North Korea and the Kim family didn’t survive the blast–is led by a president (Jin Kyung), but Ryu Seok is really in charge. He’s a Rahm Emanuel-style “Never let a crisis go to waste” type. 

That tiny population is divided into four groups, castes really, and the top group is the Core, which consists of the Cheonmyeong Group and the top tier of the government, and a couple of middle classes, General and Special. But the majority of the survivors are classified as refugees, who for the most part scrape out a miserable survival in the ruins of the former city of Seoul.

The Core of course enjoy a luxurious existence. 

All but the refugees have coveted QR codes tattooed on a hand that allows them entrance into restricted areas–and to purchase desperately needed supplies, especially oxygen.

Is there a way out from the misery for the refugees? Yes, the legit path is to become a deliveryman, a truck driver for the Cheonmyeong Group, transporting those vital supplies. Think of Mad Max in The Road Warrior driving a semitrailer as the wheeled army of Humongous follows him around the Wasteland, only for a post-apocalypse Korean Amazon. The greatest of these deliverymen is 5-8 (Kim Woo-bin). In the post-apocalyptic Korea, deliveryman eschew their birthnames in exchange for the numbered district they service. By the way, there are some female deliverymen.

The other way for the refugees to escape their bleak lives is the criminal path–becoming Hunters. Once again, think of the mobile gangs of the Mad Max franchise. These Black Nights fire back–and 5-8 even electrocutes a pair of them who make the mistake of climbing onto his truck. 

Yoon Sa-wol (Kang You-seok) is a mischievous refugee teen who idolizes 5-8–he even plays a 5-8 computer game–and he and dreams of becoming a deliveryman. Sa-wol is illegally living with two sisters, one of them is Major Jung Seol (Esom). The sisters, I believe, are classified as Special, one notch down from Core.

Sa-wol is an orphan–so yes, he’s yet another “chosen one,” along the lines of Luke Skywalker, Harry Potter, and Frodo Baggins.

Predictably, the paths of 5-8, Seol, and Sa-wol cross. 5-8 has learned that he has much more to offer Korea than being a deliveryman, even one who is already a folk hero.

Black Knight is an enjoyable Netflix diversion. There is of course an abundance of action but also some subtle humor. For instance, 5-8, despite breathing poisoned air, still smokes cigarettes. 

More direct humor is offered by Sa-wol’s pals, with the unusual names of Dummy (Jung Eun-seong), Dumb-Dumb (Lee Sang-jin), and Useless (Lee Joo-seung), who live with a clever mechanic and inventor, Grandpa (Kim Eui-sung).

But if you are looking for a romantic storyline, look elsewhere. There are no love stories in Black Knight.

If you are a connoisseur of compelling cinematography and sharp CGI, then you’ll love Black Knight. 

And if you drive a delivery truck for UPS, a grocer, and especially Amazon, then let your imagination run wild and dream away as you watch, and presumably love, this series. 

Black Knight is rated TV-MA by Netflix for violence and smoking. It is available for viewing in Korean with subtitles, in English, and several other languages. I watched it in Korean.

John Ruberry regularly blogs at Marathon Pundit.

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